Senior Year 11: Should Auld Acquaintance
by Wild Pikachu
Summary: Brooke and Harrison's floundering relationship reaches a critical juncture on New Year's Eve, while Natalie finds herself attracted to a classmate. Meanwhile, Sam's fortunes at the paper shift.
1. Teaser

**Notes:** _(Re-edited and re-uploaded September 2010)_

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**Guest Cast:**  
Mr. Osbourne: Erick Avari  
Art Fleischer: Brett Cullen  
Rick Doyle: Robert Harper  
Matt Watley: Devon Gummersall  
Jaycee: Eliza Dushku  
Reyanna: Kristanna Loken

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**Formatting:** The main differences between the way the episodes are presented here and true script format are that on this website, everything is left-justified, while script format has specific block-margins for dialog, etc., and that scripts are still traditionally printed in Courier (monospace) font. These episodes are also available on my Popular website (link is in my info) if you would like to read them as though they were printed scripts.

**Legal whatchamacallit:** Pre-existing "Popular" characters and situations are ©1999-2001 Touchstone Television, et al. For what it's worth, original material is ©2001-2010 by yours truly, the Wild Pikachu. Please don't steal this without asking first.

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**POPULAR: SENIOR YEAR**

**SHOULD AULD AQUAINTANCE BE FORGOT?**

TEASER

FADE IN:

INT. BROOKE'S BEDROOM - DAY

Brooke is sitting on the edge of her bed, looking morose, while  
Harrison paces back and forth in front of her, looking even more  
morose.

BROOKE  
Will you at least tell me what's  
wrong?

HARRISON  
(snappish)  
I don't know. It just seems like—  
like it's not working.

BROOKE  
What? What's not working?

HARRISON  
(shrugs)  
Us.

BROOKE  
Us? How are we not working?

HARRISON  
I don't know.

By this time Brooke is feeling a little annoyed herself.

BROOKE  
You don't know. Oh, that's very  
insightful, Harrison.

Harrison stops and turns to face her.

HARRISON  
Don't you feel it, too?

BROOKE  
(earnestly)  
No!

Harrison resumes his pacing.

HARRISON  
It just feels...old.

Brooke's eyebrow goes sky-high.

BROOKE  
OLD?

HARRISON  
What I mean is— It's almost New  
Year's. Tomorrow's New Year's  
Eve. It just—it's the whole  
concept: "New." "Year's." A new  
year. It feels like it should be  
this whole grand beginning of  
something. Us...it feels like  
we're stuck—

BROOKE  
(deadly)  
Harrison, if you say we're stuck  
in a rut, I swear I'll slap you  
into next year right here and now.

Harrison sits down next to Brooke.

HARRISON  
Admit it—we didn't exactly have the  
most joyous Christmas.

BROOKE  
Yeah, but that was because of the  
malevolent spirit of Sam McPherson,  
not because of US.

HARRISON  
Come on, Brooke—

BROOKE  
I'm sorry. I'm trying to be  
understanding—

Suddenly Brooke leaps off the bed and throws her hands up.

BROOKE (CONT'D)  
You know what? I'm NOT sorry, and  
I'm tired of trying to be  
understanding! Okay, I get it, we  
hurt her, I acknowledge that. But  
I don't see why that should mean  
she gets to keep hurting us back  
forever.

HARRISON  
Keep— Brooke, she didn't even DO  
anything!

Brooke's eyes narrow at him.

BROOKE  
Oh, you bet she did something,  
with that stupid little Christmas  
ornament, all guilt-tripping  
everyone over her being the  
missing prodigal runaway daughter,  
and everyone trying to be cheery—

HARRISON  
(breaking in)  
You are making so little sense  
it's scary.

BROOKE  
You know what I mean!

HARRISON  
Trust me, Brooke, I'm clueless.

She shoots an "obviously" glance at him.

BROOKE  
Still think we're stuck in a rut?

HARRISON  
No, I'd say we've gone right off  
the road and into the ditch.

BROOKE  
So, is that better?

HARRISON  
No! I don't understand how you  
can be so cavelier about this!

BROOKE  
Well, excuse me for not thinking  
there's a problem—except for SAM!

HARRISON  
I know what the problem is!  
You're jealous of Sam!

Brooke's mouth drops open.

WHITE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. AN OUTDOOR MALL - DAY

Amongst the throngs of post-Christmas shoppers walk Lily and  
Natalie. Lily is carrying several small bags; Natalie is  
empty-handed.

NATALIE  
I never figured you for a  
shopping fool.

LILY  
Oh, Josh'll love these.

NATALIE  
(snorts)  
Right, I always had Josh pegged  
as a embroidered-cow-doily kind  
of guy.

Lily gives Natalie a mildly annoyed look.

LILY  
Why haven't you gotten anything?

NATALIE  
This, it's all just...kind of  
weird.

Lily shrugs her question.

NATALIE  
(abruptly)  
How do you have Christmas without  
snow? It's just...unnatural,  
that's what it is.

Lily laughs good-naturedly.

LILY  
It's L.A.

NATALIE  
Like I said...weird.

Lily starts to say something else, but suddenly something in  
a store window catches Natalie's eye, and the rest of the  
world fades away...

FLASH CUT TO:

DREAM MONTAGE

Harrison decked out in a tux and diamond cufflinks,  
seemingly at some glittery event. Then Natalie there as  
well, dressed in a glamorous evening gown. Finally, as  
Harrison leans in ever closer—

FLASH CUT TO:  
THE MALL

Something pulling on Natalie's sleeve snaps her out of her  
reverie.

NATALIE  
What?

The "something" turns out to be Lily.

LILY  
That's what I was asking!  
"What?"

Natalie just stares at her, dumbfounded.

LILY (CONT'D)  
(nodding)  
I hate diamonds. You wouldn't  
believe the conditions the  
miners live in.

In the shop window, we see a mannequin in a tux, with those  
diamond cufflinks attatched.

DISSOLVE TO:

INT. SAM'S APARTMENT - DAY

Sam is doing nothing in particular when, without warning, the  
front door opoens and Jaycee pops her head in.

JAYCEE  
Hey, girl! Rave tonight!

Sam arches an eyebrow in Jaycee's general direction.

SAM  
Again?

JAYCEE  
It's the holidays, man!

SAM  
You need a holiday to rave?

JAYCEE  
No, but it sounds more festive.  
Aww, c'mon, Sam!

SAM  
Okay, okay...

JAYCEE  
There ya go! You'll meet new  
people—you have GOT to make new  
friends.

The door closes.

SAM  
(to herself)  
Yes. That I do.

CUT TO:

INT. BROOKE'S BEDROOM - DAY

Picking up right where we left off.

BROOKE  
You think I'm WHAT of WHO?

HARRISON  
I don't get it. I'm here, you're  
here, she's not here. Why are  
you the one who's jealous?

BROOKE  
(flabbergasted)  
That's what I'm SAYING! Why  
would I be jealous?

HARRISON  
That's a good question.

BROOKE  
Harrison, I'm serious. I WILL  
strangle you.

HARRISON  
Look, I'm not the one who's always  
acting like Sam is sitting here  
between us.

BROOKE  
But she is! Every time I turn  
around, it's Sam this or Sam that,  
or "I wonder what poor Sam is  
doing," or...

Harrison reaches out and grabs an increasingly hyper Brooke by  
the shoulders.

HARRISON  
Just stop it! This is crazy!

She shrugs him off.

BROOKE  
Admit it, Harrison. There's a big  
white elephant in the room with  
us, and the elephant's name is Sam  
McPherson. You wanna know what  
the problem is? It's her.

HARRISON  
No, it's not. She's not even  
here. YOU'RE the problem.

Brooke's eyes narrow dangerously.

BROOKE  
Don't call me a problem. YOU'RE  
the problem, with your ruts and  
your ditches!

Harrison throws up his hands.

HARRISON  
Fine. I'm outta here.

He walks out of the room in a huff. For a moment Brooke looks  
like she might call after him—but she doesn't.

CUT TO:

INT. JOSH AND LILY'S APARTMENT - LATER

Lily comes into the living room to find Josh looking  
disapprovingly at what can only be described as an extremely  
odd holiday display.

JOSH  
Lil, how long is this thing going  
to stay like this?

LILY  
(a bit confused)  
Like what, Josh?

JOSH  
You know...up.

LILY  
What's wrong with it?

JOSH  
Well, first off, it's not a tree.  
Or even very Christmasy.

LILY  
Baby, we've been through this. The  
idea of chopping down a defenseless  
pine tree just so it can be  
displayed like some floral-cidal  
trophy is morally repugnant.  
(gesturing)  
Besides, these are very Christmasy.  
They just happen to also be non-  
discriminatory and religion-  
neutral.

JOSH  
But it's already five days after  
Christmas!

LILY  
So?

JOSH  
(pointedly)  
In my home, all the Christmas  
decorations are down by noon on the  
26th.

Lily stands before him, hands on hips.

LILY  
And why do you want OUR home to be  
like YOUR home?

Josh stops in mid-rant, finger raised.

JOSH  
You know, that's a good point.

LILY  
(grinning)  
I know.

Josh gets a mischievious gleam in his eye, and suddenly sets  
upon Lily with an attack of tickling fingers.

JOSH  
Oh, you do, do you? Huh? Huh?

Shrieking, Lily falls back into the sofa, followed closely by  
Josh.

CUT TO:

INT. A RAVE - NIGHT

Hundreds of ravers crowd the floor of an old warehouse, and in  
their midst are Sam and Jaycee, dancing up a tempest of epic  
proportions for the entertainment of those around them. Soon  
Jaycee spots a smoldering blonde wearing next to nothing, and  
beckons provocatively. The pair become a trio, though Sam is  
too amped up to really notice.

DISSOLVE TO:

INT. SAM'S APARTMENT - MORNING

Sam shuffles listlessly into the kitchen area, the victim of  
severe morning-after pains. She takes the mini coffee pot and  
pours a cup of coffee into a mug—except that nothing comes out,  
because the pot is empty. Sam puzzles over this for several  
long seconds, peering into the pot from above; then finally  
holding it over her head, tipping it and examining it from  
below. After finally accepting that no coffee will be  
forthcoming, she sets the pot down and heads for the door.

CUT TO:

INT. SAM'S APARTMENT HALLWAY - CONTINUOUS

The door to Sam's apartment opens, and Sam appears, still  
looking like death warmed over. She makes the long, ten-foot  
trek to Jaycee's door, and knocks feebly.

No answer.

Visibly mustering a burst of energy, she knocks again, loudly.

Still no answer.

After a few more seconds of deliberation, she tries the door,  
and finds it unlocked.

CUT TO:

INT JAYCEE'S APARTMENT - CONTINUOUS

Sam walks into Jaycee's place cautiously, but the apartment  
seems to be empty.

SAM  
Jaycee—?

The bathroom door opens behind Sam, and when she turns around,  
she sees the blonde from the rave standing in the doorway  
naked—though Sam obviously doesn't recognize her.

SAM  
(flustered)  
Uhhh...

The blonde, however, seems completely at ease with the  
situation.

REYANNA  
Hey! You're Sam, right? From last  
night. I remember you.

Sam is obviously still three steps behind.

SAM  
I, um...

Reyanna steps forward, holding out her hand.

REYANNA  
Man, I guess you really WERE  
flying last night, huh? I'm—

SAM  
(breaking in)  
Nude.

Reyanna looks down at herself, laughing.

REYANNA  
Kinda dumb taking a shower with  
clothes on, huh? I'm Reyanna.

Sam shakes her hand, more because it's there than anything  
else.

SAM  
Hi. Sam. So—

Suddenly Jaycee appears in the bathroom doorway, also naked.

JAYCEE  
Babe, I thought you were gonna—?  
(catching sight of Sam)  
Oh, hey, Sam.

SAM  
(lamely)  
Hey.

Jaycee pulls out a towel from somewhere behind her and wraps  
it around herself.

JAYCEE  
You remember Reyanna, from last  
night, right?

REYANNA  
No way, Jay, she had her sights set  
on other things, huh?

SAM  
(trying to keep up)  
Huh?

JAYCEE  
Yeah, huh?

REYANNA  
(to Sam)  
I saw you scoping that Latino rock,  
huh?

SAM  
Uhhh...

JAYCEE  
Rey..."rock"?

REYANNA  
Hey, just because I don't eat  
sausage doesn't mean I can't watch  
how it's made, huh?

Jaycee concedes the point with a shrug. By this time Sam has  
turned beet red.

SAM  
I, um, just... I came... I mean,  
I'm here because...uhhh...

Sam gives up trying to talk and flees the apartment. Reyanna  
shrugs at Jaycee, who looks vaguely worried.

CUT TO:

EXT. THE MALL - DAY

New Year's Eve: The mall is still moderately crowded, and  
Natalie is out shopping again, solo this time. Also  
different: she's carrying two small bags. Suddenly someone  
knocks into her from behind, making her stumble forward a  
couple of steps.

NATALIE  
Hey!

She turns around and sees Harrison standing there,  
embarrassed.

HARRISON  
Oh! Sorry, sorry!

NATALIE  
(annoyed)  
Harrison, watch where you're going!

But something in Harrison's hang-dog expression makes her  
anger melt away.

NATALIE (CONT'D)  
What's wrong with you?

Harrison just shakes his head, demurring.

NATALIE (CONT'D)  
It is...Brooke? Are you guys...?

HARRISON  
(tired)  
We're ALWAYS...

NATALIE  
Oh. I'm...sorry. Is it...?

HARRISON  
I don't know WHAT it is. SHE  
thinks it's Sam.

A long moment of silence.

NATALIE  
(prompting)  
And?

Harrison shrugs.

NATALIE (CONT'D)  
You don't KNOW?

HARRISON  
Oh, I know. The only interfering  
Sam is doing between us is in  
Brooke's over-active imagination.

NATALIE  
You're sure?

HARRISON  
She's not AROUND. She lives—I  
don't know exactly. Downtown,  
somewhere. How much can she  
interfere when I don't even know  
where she lives?

Natalie thinks that over for a moment.

NATALIE  
Well...you still see her at school,  
right?

HARRISON  
Not hardly. I'm not even sure she  
goes anymore.

NATALIE  
Ummm...yeah. I guess I'm not going  
to be seeing her much either,  
after—

Belatedly sensing that she's on dangerous ground, she breaks  
off. Harrison isn't willing to let her off the hook, though.

HARRISON  
After what?

NATALIE  
(covering)  
Oh, uh...nothing.

HARRISON  
Did you guys have a fight?

NATALIE  
Uh, yeah. That was it.

Any hope Natalie has that Harrison might let the subject drop,  
though, are quickly dashed.

HARRISON  
About what?

NATALIE  
About what? Uh, uh, just...girl  
stuff.

HARRISON  
(laughs)  
This is Sam we're talking about.  
She doesn't know what "girl stuff"  
is.

NATALIE  
I mean, nothing important. We had  
an argument, and she got mad at us,  
end of story—

HARRISON  
Wait, wait, wait. Who's "us"?

NATALIE  
Oh! Ah...me and...Carmen.

HARRISON  
(slowly)  
You and Carmen...had a fight with  
Sam.

Natalie gives up, backing away.

NATALIE  
I think...yeah, I have to go now.

Before Harrison can stop her, she turns and runs off.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. SAM'S APARTMENT - LATER

Sam is pacing the floor next to her bed, while talking on the  
phone.

SAM  
(into the phone)  
...but... Yes, I know, but it's...  
No, Sir, of course I'm not doing  
anything, it's New Year's Eve...!  
But...  
(defeated)  
Yes, Sir... I'll be right there.

Sam puts down the phone and falls back onto the bed, arms over  
her face.

There is a knock at the door.

SAM  
(unmoving)  
Come in!

The door opens, and Jaycee steps inside.

SAM  
(peeking out)  
I have a sadistic boss from Hell,  
and he wants me to work! TODAY!

JAYCEE  
I thought you said this Fleischer  
guy was okay.

SAM  
He's on vacation.  
(groans)  
I got loaned out to some Assistant  
Editor. From HELL!

JAYCEE  
That sucks.

SAM  
Yeah...

After a moment, Jaycee goes over and stands over Sam.

JAYCEE  
Sam?

SAM  
Mmm?

JAYCEE  
We need to talk.

Sam peeks out from behind her arm again and, on seeing the  
expression on Jaycee's face, sits up and arranges herself into  
a lotus position on the bed.

SAM  
What's going on?

JAYCEE  
(hesitantly)  
Look, about this morning—

SAM  
Oh! I am totally sorry about  
barging in like that. I had zero  
coffee, my brain was officially  
dead...I just thought you might  
have a pick-me-up hand. I SO did  
not mean to invade your privacy.

JAYCEE  
That's not what I meant. I was  
talking about Reyanna.

SAM  
(growing subdued)  
Oh. I guess she...stayed over  
last night.

JAYCEE  
Look, I'm sorry if you've got a  
problem with me being the way I  
am, but I'm not gonna make any  
apologies for who I want to have  
sex with, or what gender they  
are—!

Meanwhile, Sam has started waving her arms frantically.

SAM  
Whoa, whoa, hang on! What makes  
you think I have a problem?

Jaycee, who has worked up a pretty good head of steam,  
falters.

JAYCEE  
Well...you seemed pretty freaked  
out this morning...

SAM  
I told you! Rave last night, no  
coffee, no brain! I am totally not  
judgmental about you being gay! We  
went through this whole gay  
awareness thing last year at  
school. We even started a support  
group for gay and lesbian students.

JAYCEE  
(sincerely)  
Wow... I'm impressed. So, I guess  
there's no problem...

SAM  
Absolutely no problem.

JAYCEE  
(relieved)  
Great, then. So we're good.

SAM  
We're good.

JAYCEE  
Good. Oh, and it's bi.

SAM  
Excuse me?

JAYCEE  
I'm bi. Rey's gay.

Sam suddenly stifles a giggle.

JAYCEE (CONT'D)  
(mildly annoyed)  
What?

SAM  
"Rey's gay"?

Jaycee catches on to her impromptu rhyme, and starts giggling  
herself.

SAM (CONT'D)  
(between giggles)  
...today on..."Horny Sesame  
Street"...

Jaycee collapses on the bed as the two girls dissolve into a  
complete giggle-fest.

CUT TO:

EST. THE CHRONICLE BUILDING - LATER

Jaycee's convertible pulls up to the curb outside the  
Chronicle, with Jaycee driving and Sam in the passenger seat.

CUT TO:

INT JAYCEE'S CAR - CONTINUOUS

SAM  
Thanks for the ride.

JAYCEE  
Hey, no problemo, man. Sorry you  
gotta work.

SAM  
Yeah, there must be a thousand old  
articles that need re-filing.

JAYCEE  
Well, I'll be thinking about you  
when I'm, you know, not working.

SAM  
(wryly)  
You are SUCH a good friend, Jaycee.

Jaycee gives Sam a playful shove.

JAYCEE  
Go on. I've delivered you to the  
gates of Hell.  
(pause)  
Hey, rave tonight?

SAM  
Again?

JAYCEE  
(shrugs)  
I dunno. Maybe we'll party in.  
Now go already, before I get a  
ticket.

Sam opens the door and starts to climb out, but Jaycee grabs  
her arm, and slips a few pills into her pocket.

JAYCEE (CONT'D)  
In case of emergency.

SAM  
Thanks.

Sam climbs out and closes the door behind her.

CUT TO:

SPLIT SCREEN

The LEFT SIDE of is a close-up of Harrison; the RIGHT SIDE is  
black. Harrison picks up his phone and dials. There is the  
sound of a phone ringing, and after a moment, the RIGHT SIDE  
of the screen wipes to a close-up of Carmen, picking up her  
phone.

CARMEN  
Hello?

HARRISON  
Carmen? It's Harrison.

CARMEN  
Oh, hey, Harrison! How's your  
holidays?

HARRISON  
What's up with Sam?

CARMEN  
(caught off-guard)  
Uh—huh? Sam?

HARRISON  
I know you and Natalie had a fight  
with Sam.

CARMEN  
How'd you—? I mean, I don't know  
what you're talking about.

HARRISON  
Oh, I have ways, Carmen. I have  
ways. Now are you gonna tell me  
what's going on with Sam?

CARMEN  
Ummm...I'll call you back.

Carmen pushes the disconnect button on her phone, and the LEFT  
SIDE of the screen wipes to black. Carmen dials a number, a  
different phone rings, and the LEFT SIDE of the screen wipes  
to show Natalie picking up her phone.

NATALIE  
Hello?

CARMEN  
Natalie, we have a problem. A  
serious, Grade-A genuine problem!

NATALIE  
My God, what is it?

CARMEN  
Harrison somehow found out about  
that fight we had with Sam last  
week!

NATALIE  
(wincing)  
I know.

CARMEN  
Did he call you, too?

NATALIE  
Not...exactly.

CARMEN  
Then how—?  
(realizing)  
Natalie! You didn't!

NATALIE  
It was a slip!

CARMEN  
Well, we have to nip this in the  
bud, right now!

NATALIE  
I'll call Lily. She'll know what  
to do.

Natalie clicks off the line, and the RIGHT SIDE of the screen  
wipes to black. Natalie dials, there is yet another ring, and  
then the RIGHT SIDE of the screen wipes to show Lily with her  
phone.

LILY  
Hello?

NATALIE  
Lily, it's Natalie. I did  
something really dumb today. I  
mean, really, really, stupid.

LILY  
Natalie, I'm sure that whatever it  
was, it's not THAT bad.

NATALIE  
I accidentally let Harrison know  
that me and Carmen had a fight with  
Sam.

LILY  
Natalie! How could you?

NATALIE  
It was an ACCIDENT! Anyway, now  
Harrison's calling around asking  
questions.

LILY  
All right, let's not panic. I know  
who he'll go to. Don't worry, just  
let me handle it.

Lily hangs up, and the LEFT SIDE of the screen wipes to black.  
She punches her speed dial, and the LEFT SIDE of the screen  
wipes to Brooke picking up her phone.

BROOKE  
Hello?

END SPLIT SCREEN; INTERCUT between Lily and Brooke.

LILY  
Hey, Brooke, it's Lily. Listen,  
have you and Harrison been talking  
about Sam?

BROOKE  
(rolling her eyes)  
When HAVEN'T we been talking about  
Sam? It's this constant drone.  
It's the McPherson Curse, that's  
what it is.

LILY  
Brooke! Has Harrison asked about  
Sam's...problem?

BROOKE  
WHAT? NO! Oh my God, he doesn't  
know, does he?

LILY  
No...not yet. He found out she had  
a fight with Carmen and Natalie.  
I'm afraid if he snoops around long  
enough, he'll starts asking WHY.

BROOKE  
(hyperventilating)  
Oh, God, oh, God...

LILY  
Brooke, breathe, okay? Maybe he  
won't ask. But I have to tell you,  
I don't know what I'll say if he  
does come right out and asks me.  
You know how I feel about lying.

BROOKE  
(frantic)  
No, Lily, you have to lie to him!  
Harrison can never know that Sam's  
doing drugs!

And as she says that, we see Harrison standing behind her in  
her bedroom doorway, steaming. He slams the door shut behind  
him, making her jump and spin around.

HARRISON  
Sam's doing WHAT?

BLACK OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. BROOKE'S BEDROOM - CONTINUOUS

Harrison is still standing there, glaring at Brooke, waiting  
for an answer to his question.

HARRISON  
Well?

BROOKE  
I—I—I said...RUGS! Yeah, Sam's  
place is pretty bare, so she's  
the whole rug thing.

Brooke tries to laugh it off, but Harrison isn't buying it.

HARRISON  
That's NOT what you said. You said  
she's doing drugs!

He advances on her, until she starts backing away.

HARRISON (CONT'D)  
What do you mean, she's doing  
drugs? Huh? Tell me!

Brooke hits the edge of her bed and sits down hard, actually  
cowering as Harrison leans over her.

BROOKE  
Harrison, please...

HARRISON  
TELL ME!

BROOKE  
She's popping pills!

With it said, Brooke buries her face in her hands.

HARRISON  
No...it's a lie. Someone's just  
making this up.

BROOKE  
No...

HARRISON  
Yes! Come on, you know Sam! You  
know she'd never take pills! Or  
any other drug!

BROOKE  
It's true, Harrison.

HARRISON  
No! Whoever told you—

BROOKE  
I saw her buying from a dealer,  
okay?

That seems to take the steam out of Harrison; he sits down  
heavily on the bed beside her.

HARRISON  
Maybe...maybe you just saw it  
wrong. Maybe she was...maybe she  
researching a story! Right?

BROOKE  
(shaking her head)  
I'm not the only one. Natalie,  
Lily, Carmen...we've all seen her.

Harrison takes this in, and stands up again.

HARRISON  
And you've all been lying to me.  
You most of all.

BROOKE  
What? Harrison, no—!

HARRISON  
Oh, I think so! I just heard you  
telling Lily to lie.

BROOKE  
That's not—I meant—I just didn't  
want you to—

HARRISON  
To what? What didn't you want me  
to do?  
(pause)  
I'm going to find Sam and get to  
the bottom of this!

Harrison storms out of the room.

BROOKE  
(to the empty room)  
That was it.

CUT TO:

INT. THE CHRONICLE ARCHIVE ROOM - LATER

Sam is immersed in a Byzantine array of filing cabinets. She  
is moving file folders from one cabinet to another in a  
bizarrely robotic fashion.

Without warning, Rick Doyle, one of the editors—a burly,  
rotund man in his 50's—steps up to the edge of Sam's space.

DOYLE  
Hey!

Startled, Sam looks up, banging her head on one of the  
cabinets.

SAM  
Ow!

DOYLE  
You're Fleischer's girl, right?

SAM  
(carefully)  
I'm Mr. Fleischer's...intern.

DOYLE  
Good! Come with me.

Doyle turns on his heel and walks off; after a moment of  
confusion, Sam scrambles to her feet and follows him.

CUT TO:

INT. CHRONICLE NEWSROOM - MOMENTS LATER

Doyle walks into the newsroom with Sam trailing on his heels.  
The large bullpen space is about as empty as it ever gets.

DOYLE  
(disgusted)  
Look at this! How am I supposed to  
get anything done when nobody's  
working?

SAM  
Uh, Sir? It's New Year's Eve?

He rounds on her.

DOYLE  
You think news stops happening on  
New Year's Eve?

SAM  
N-no, Sir. I don't. Sir.

DOYLE  
Damn straight! You can write,  
right?

SAM  
Huh? I mean, yeah. Right. Uh,  
yes. Sir.

DOYLE  
Good!

He picks up a pad and pen off a nearby desk and shoves them at  
her.

DOYLE (CONT'D)  
There's a Redevelopment Commission  
meeting at the County Annex at  
four o'clock. Go cover it.

SAM  
Uh—huh? I, uh—

DOYLE  
I don't need a five-part series,  
Kid. Nothing ever happens at these  
things, especially over the  
holidays. Just show up, and on the  
off-chance they DO vote on  
something, write a blurb on it. Do  
you think you can do that?

SAM  
Oh—yes. Yes, Sir.

DOYLE  
Good!  
(shooing)  
Well? Go, go, go!

Spurred to action, Sam turns around and rushes out.

CUT TO:

EXT. THE CHRONICLE BUILDING - LATER

Sam is standing on the curb, her laptop slung over her  
shoulder, trying to figure out the best way to get to the  
County Annex, when a Chronicle minivan pulls up in front of  
her. In the driver's seat is Matt Watney, a fresh-faced boy  
not much older than Sam. He leans over and rolls down the  
passenger-side window.

MATT  
Going to the Revelopment  
Commission?

SAM  
(confused)  
How'd you—?

MATT  
Want a ride?

As Sam stands there, undecided—

MATT  
I won't bite. Promise.

Finally Sam opens the passenger door and climbs in. Matt  
pulls out into traffic.

CUT TO:

INT. THE COMPANY MINIVAN - MOVING

MATT  
You're McPherson, right? Mr.  
Fleischer's pet project?

SAM  
(exasperated)  
Is that all anyone knows me as?

MATT  
(shrugs)  
People talk. High-school whiz-kid,  
in line for a staff position...

SAM  
What?

MATT  
Didn't know that? You are. You're  
kind of like the prodigal daughter  
around here.

SAM  
(muttering)  
Just great.

As the conversation peters out, she turns around in her seat  
and spies a mass of camera equipment in the back.

SAM (CONT'D)  
Photographer?

MATT  
Me? Yep.

SAM  
(grinning)  
Cub?

MATT  
You have no idea how glad I am that  
phrase is pass.

SAM  
(gesturing)  
Hey—wombat here.

MATT  
Oh...yeah. Photography interns  
don't get called that, just  
journalism ones. Never did get it.

SAM  
You mean, no one ever told you why  
"wombats"?

Matt shakes his head.

SAM (CONT'D)  
Well, the way it got told to me...

CUT TO:

EST. L.A. COUNTY ANNEX BUILDING - AFTERNOON

A typically ulitarian, two-story concrete-and-glass structure,  
probably built in the 60's. The L.A. Chronicle minivan pulls  
into an empty diagonal parking space in the front lot.

CUT TO:

INT. THE COMPANY MINIVAN

As Matt puts the car in park, both he and Sam are apparently  
recovering from a serious belly laugh.

MATT  
...no, really? Serious?

SAM  
I swear! Hey, it was before my  
time, okay? I woulda thrown them  
off the roof.

MATT  
(still laughing)  
Think of the nickname you would've  
gotten THEN.

SAM  
Oh, my God...maybe "wombat" isn't  
that bad.

MATT  
(checks his watch)  
I'd better get in there. I have to  
set up. You can take your time—  
hardly anyone comes to these  
things.

Sam takes a look in the back again.

SAM  
Oh, I can help carry stuff.

CUT TO:

INT. COMMISSION MEETING ROOM - MOMENTS LATER

Matt is setting up a tripod in the back of the room, while Sam  
sets a shoulder bag down. Except for them, the room is mostly  
empty: only a couple of the audience chairs are occupied, and  
the only official-looking person in evidence is a clerk  
sitting off to the side, going through a stack of notes. Matt  
starts to unpack and mount his camera equipment.

SAM  
So, how come you have to be here?

MATT  
The paper updates its file photos  
of all the minor county officials  
at the beginning of each year.  
Nothing meetings like this are a  
good way of getting some of them.

SAM  
(guessing)  
And, it's something nobody else  
wants to do.

MATT  
(deadpan)  
Are you kidding? Fires, rescues,  
sports—even the guys on the  
Lifestyle beat snapping kids in the  
park—they're all saying, "Man, what  
I wouldn't give to be shooting  
portraits of county flunkies right  
now!"

SAM  
Yuh-huh. Nevermind. I can see  
EXACTLY why you're here.

MATT  
Is that an insult, wombat?

Sam just raises an eyebrow at him.

MATT (CONT'D)  
Go. Sit. Before all the good  
places are taken.

She gazes over the nearly-empty audience chamber, makes a  
mildly rude noise at him, and goes to find a seat.

INSERT: WALL CLOCK

A typical civil-service clock, found in government buildings  
everywhere. It reads "3:04", then dissolves to read "5:15".

Someone behind the commission bench is droning on, but Sam  
isn't listening: she's slumped over in her chair, snoring  
softly. A hand touches her shoulder, and she starts awake.  
Matt is crouching in the row behind her.

SAM  
(half-whispering)  
Did I miss anything?

MATT  
(snorts)  
Yeah, they voted on world peace  
about fifteen minutes ago.  
(pause)  
It didn't pass.

SAM  
I'm sorry, my brain is too numb to  
appreciate sarcasm. Please try  
your call again later.

MATT  
Here.

He brings up a container with a plastic lid and hands it to  
her. She peels a corner back and takes a sip.

MATT (CONT'D)  
Thought you could use some coffee.

SAM  
Thanks.

She takes another sip.

SAM (CONT'D)  
Did you say world peace didn't  
pass?

MATT  
Nope. Got shot down five-to-two.

SAM  
(absently)  
Huh.

After Matt pats her on the shoulder and moves off, she drops a  
hand into her pocket, surreptitiously pulls out a couple of  
pills and pops them into her mouth, washing them down with a  
swig of coffee. Then she straightens up and tries to focus on  
the bureaucratic droning.

Just then the commission chairman, sitting behind the center  
of the bench, stops talking, and unnecessarily bangs a little  
gavel.

CHAIRMAN  
That concludes the commission's  
scheduled business. The floor is  
now open to public comment, if  
there is any.

His tone suggests that he doesn't believe there will be any,  
and since there are only a couple of people besides Sam in the  
audience, it looks like a safe assumption. The Chairman is  
halfway to calling the meeting adjourned when a figure rises  
from the back, catching everyone off-guard. Sam turns in her  
seat and sees a rather burly man coming down the short center  
aisle.

MAN  
Yeah, I wanna talk.

The Chairman seems flustered, as though this has never  
happened before—which might just be the case.

CHAIRMAN  
Oh—ah, of course, Mr., uh, Mr.—?

MAN  
Campbell. Buck Campbell. And what  
I gotta say, I gotta say to HIM.

The man—Campbell—is pointing to the Chairman's immediate left,  
causing another stir of surprise. The most surprised-looking  
person is the one being pointed at; an undistinguished fellow  
with a receding hairline.

CHAIRMAN  
(confused)  
I'm sorry—you want to address Mr.  
Jesper? A-a-a comment on his, uh,  
proposal?

CAMPBELL  
(picking up volume)  
The only proposals I wanna talk  
about are the ones he's been makin'  
with my WIFE, LEANN!

At the mention of the name "Leann," Jesper goes pale and  
scoots away from the bench. Campbell reaches into his plaid  
hunting jacket with one beefy hand, and everyone—including  
Sam—gasps. But instead of a weapon, out comes a fistful of  
photos, which he waves in front of Jesper.

CAMPBELL  
Yeah, that's right! I hired a  
private eye to get the goods on you  
two. Remember the Sunset Motel?  
Huh? REMEMBER, YOU LOUSY  
S.O.B.?

Campbell launches himself across the bench, grabbing Jesper.  
In the process, the photos go flying; one of them flutters to  
the ground at Sam's feet. After looking at it for a moment,  
wide-eyed, she snatches it up. As the conference room  
dissolves into chaos—or at least as much chaos is possible,  
given the number of people there—Matt has grabbed his camera  
off the tripod and is busy snapping pictures.

The two men grapple at each other for a few moments, before a  
couple of security guards finally pull Campbell off. The  
Chairman pounds his gavel on the bench repeatedly.

CHAIRMAN  
Quiet! Quiet! Everyone calm down!

Meanwhile, Sam has made her way to the back of the room and is  
standing next to Matt. That's when the Chairman spots them.

CHAIRMAN (CONT'D)  
(pointing)  
Hey! Hey, you!

Rather than take their chances, Matt and Sam hurriedly gather  
up their equipment and fush out of the room.

CUT TO:

EXT. SAM'S APARTMENT BUILDING - LATER

The front door opens and Harrison comes out, looking both  
unhappy and preoccupied. So preoccupied, in fact, that he  
nearly runs into George while coming down the steps.

GEORGE  
Hey!

Harrison looks up sourly.

HARRISON  
Oh, you too, I guess!

GEORGE  
Excuse me? Look, I don't know what  
your problem is, Harrison—

HARRISON  
(heatedly)  
My problem is everyone knowing  
Sam's using but me!

George takes a step back, and from the look on his face  
Harrison realizes the truth.

HARRISON  
You...didn't...

GEORGE  
(catching up)  
Sam's USING? As in DRUGS?

Instead of answering, Harrison sits down on the steps. After  
a moment, George sits beside him.

GEORGE (CONT'D)  
Did she deny it?

HARRISON  
She's not home. Took me all  
afternoon to find out where she  
lives, and she's not even here.

A long pause.

GEORGE  
What did you mean, everyone knows?

HARRISON  
The girls...Brooke, Carmen, Lily,  
Natalie... I only found out  
because I overheard Brooke talking  
about it.

GEORGE  
I can't... Are you sure?

HARRISON  
(nods glumly)  
Brooke saw her buying.

GEORGE  
(struggling)  
Well...maybe she's just...

HARRISON  
—working on a story?

Harrison shakes his head, once. Tears start welling up in his  
eyes.

HARRISON (CONT'D)  
They've seen her high.

George just shakes his head, unable to say anything. There is  
another long moment of silence.

HARRISON (CONT'D)  
This is my fault. I drove her to  
this.

He sneaks a glance over at George.

HARRISON (CONT'D)  
Feel free to join in.

GEORGE  
(exploding)  
Man, you are so full of yourself  
it's unbelievable! You know  
there's nothing I'd like better  
right now than to lay this on you.  
But we both know that's not true,  
don't we? You don't start doing  
drugs because you had a bad day, or  
you blew the big game—or because  
your boyfriend's cheating on you.  
This isn't on you. Or Brooke. Or  
anyone else. It's on Sam. She did  
this to herself.

HARRISON  
I could've been there for her.

GEORGE  
(rises)  
You got THAT right.

George walks off, leaving Harrison to sit and wallow in his  
own misery.

CUT TO:

INT. CHRONICLE MINIVAN - MOVING

The minivan is careening through traffic; Matt is hunched over  
the wheel like some manic race car driver, while Sam sits in  
the passenger seat, furiously typing on the laptop balance on  
her knees.

MATT  
(wildly)  
Wow! Do you believe that? A real  
fight!

SAM  
(not looking up)  
Just drive!

SLIDE CUT TO:

INT. CHRONICLE NEWSROOM - LATER

Doyle is reading a paper copy of Sam's story, while Sam stands  
nearby, barely able to contain herself. Finally, he looks up,  
his face scrunched.

DOYLE  
Kid...this ain't news.

Sam's ebullient expression crumbles.

SAM  
But—but—this guy ATTACKED—

DOYLE  
Nobody, Kid. He attacked a nobody.  
If this was the mayor, yeah, it'd  
be news. Or a county supe. This  
is just a nobody member of a  
nothing commission nobody cares  
about. He's having an affair? So  
what? There's a million people  
having affairs in this city. In  
fact, I guarantee there's ten  
thousand people out there having  
adulterous sex RIGHT THIS SECOND.

Sam pales slightly at the thought of that. Doyle folds his  
arms.

DOYLE (CONT'D)  
Now, Kid...what did I tell you to  
do if something happened at the  
meeting?

SAM  
(sighs)  
Write a blurb.

DOYLE  
Good! So give this to me in a  
blurb. Right now.

SAM  
(thinking)  
Uh... "A man attacked a County  
Revelopment Commission member at a  
Commission meeting last night,  
accusing him of having an affair  
with his wife. After a brief  
scuffle, order was restored, and  
no arrests were made."

DOYLE  
Good! Write that up, right now.

Dejected, Sam sits at one of the empty terminals and types for  
a few seconds.

SAM  
(heavily)  
There. Now what?

Doyle comes over and reads over her shoulder.

DOYLE  
Good! Now—Fleischer never took you  
through this?

Sam shakes her head numbly.

DOYLE (CONT'D)  
Well, Jeez Louise!

He goes to a nearby terminal and starts tapping keys.

DOYLE (CONT'D)  
Okay, listen up, Kid. Every  
contributor to the paper's got  
their own code... What's your  
name?

SAM  
Sam McPherson.

Doyle punches a few more keys.

DOYLE  
Here you are. You're S-M-C-P. In  
the box where it says "Contrib" you  
put that. Then click "Submit" and  
"Confirm".

Sam dutifully follows these directions, and the terminal beeps  
in response. Doyle straightens up, satisfied.

DOYLE (CONT'D)  
Good! You're done.

SAM  
Uh, I am?

DOYLE  
Go home, have a happy new year.  
(pause)  
Oh, and, Kid!

Sam, who has started to gather her things, stops and waits  
expectantly. Doyle picks up her original story and waves it.

DOYLE  
This is a great story!

The expression on Sam's face clearly shows that she's totally  
lost again.

SAM  
Huh? But—I thought you hated it!

DOYLE  
(incredulous)  
Hate it? I LOVE it! I just can't  
USE it! But this writing—crisp,  
balanced, nuanced—I wouldn'ta had  
to change more than a half dozen  
words. When you get your hooks  
into a story that's real news,  
write it up EXACTLY like this.  
(pointing at her)  
You're gonna be an editor's wet  
dream, Kid.

Sam blushes at that. Then she thinks of something else.

SAM  
Oh! What about the photos?

DOYLE  
That photo kid's shots of the  
fight? We might run one, if  
there's a hole in Metro somewhere.

SAM  
(shaking her head)  
No, no, the photos the guy had, of  
his wife and the commissioner.

She digs out the photo she had snatched and shows it to him.  
Doyle in turn, snatches it away, holding it as though it were  
a chunk of gold.

DOYLE  
(bug-eyed)  
There's dirty pictures? And you  
GOT one? Jeez Louise, now I  
REALLY wish this guy was a  
somebody!

He hands the photo back to her.

DOYLE (CONT'D)  
Souvenir, Kid. No doubt about it—  
you've got the Touch.

SAM  
The wha'?

DOYLE  
Reporter's Touch—right place, right  
time. Can't wait for you to start  
beating the bushes for real, see  
what you dig up then. Oh, you're  
going places, Kid. Don't know what  
Fleischer's doing wasting you with  
filing.

SAM  
Well, I—I do research, too.

DOYLE  
(scoffs)  
Research! I got a dozen airhead  
coeds doing research! Okay, I've  
heard enough.

He reaches into his shirt pocket and pulls out a business card,  
which he hands to Sam.

DOYLE (CONT'D)  
From now on, you're working Metro,  
for me.

SAM  
(flummoxed)  
But, uh, Art, I mean, Mr.  
Fleischer, won't he—?

Doyle fixes his gaze on her.

DOYLE  
Kid. He's a columnist. I'm an  
editor. Which one of us do you  
think is higher on the food chain?

SAM  
(carefully)  
Ah...you. Sir.

DOYLE  
Damn stright, Kid. My office,  
Monday morning.

With his business done, Doyle turns and starts to walk away.

SAM  
(calling)  
Uh, Sir? I have school on Monday.

He stops and turns back, with a pained expression on his face.

DOYLE  
(rubbing his temple)  
School. Right. You're in high  
school.

SAM  
(helpfully)  
I'm a senior.

DOYLE  
(sighs)  
You're killin' me, Kid. Monday,  
after school, my office.

Then he turns and walks away, vigorously this time.

SAM  
(to his back)  
Yes, Sir. Thank you, Sir!

For a long moment Sam just stands there, trying to process  
what's just happened.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. MCQUEEN LIVING ROOM - EVENING

Brooke is curled up on the couch, chin plopped on her forearms,  
in the mother of all funks. She doesn't stir when Mike  
gingerly sits down beside her.

MIKE  
Brooke, sweetie, what's wrong? You  
barely touched your dinner.

BROOKE  
(mumbling)  
Wasn't hungry.

Resolutely, Mike tries to cheer her up.

MIKE  
Honey, maybe you'll be hungry by  
midnight. We'll make popcorn,  
and—

BROOKE  
I think I'm just going to bed  
early.

MIKE  
Brooke, why? You've always stayed  
up on New Year's Eve, even when you  
were a little girl.

She briefly turns a bleak face his way.

BROOKE  
This has been the worst year ever.  
In the HISTORY of ever.

Jane has come into the room; she kneels down next to Brooke.

JANE  
I know it's been rough. But  
tomorrow is a whole brand new year.  
It's going to get better, trust me.

BROOKE  
(shaking her head)  
It's not getting better. It's not,  
it's not, IT'S NOT!

Suddenly Brooke leaps off the couch and goes running up the  
stairs, with Mike and Jane looking at each other helplessly.

CUT TO:

INT. BROOKE'S BEDROOM - LATER

Brooke is lying face down on her bed, crying, when a gentle  
tapping comes at the door. She doesn't respond, but the door  
opens anyway, and Jane steps through cautiously.

JANE  
Brooke?

Brook gives no sign of acknowledgment at all. Jane carefully  
makes her way over to the bed, and sits on the edge. She  
reaches down and strokes Brooke's hair soothingly.

JANE (CONT'D)  
Honey...I think this is about more  
than New Year's.

Brooke's heaving continues unabated.

JANE (CONT'D)  
For a while now, Mike and I have  
both felt that...well, that you've  
uncomfortable around us.

Still nothing from Brooke.

JANE (CONT'D)  
I think I know what it is. Mike  
doesn't, but that's because it's  
not about him, is it? It's not  
even really about me.  
(pause)  
It's about Sam, isn't it?  
Something about Sam we don't know.  
Right?

Brooke turns over, and her face is such a mask of complete  
anguish that Jane recoils for a moment.

BROOKE  
(sobbing)  
No, no, no...please...I can't...  
don't make me...

Brooke instinctively curls herself around Jane's form and,  
startled, Jane tries to comfort her, holding her had and ever-  
so-gently sweeping the hair away from her face.

JANE  
(cooing)  
Shhh...shhh...it's all right...  
whatever it is, it all right...

BROOKE  
(barely coherent)  
I said...I—I—I said...b-but I  
c-can't...

JANE  
There, there, Brooke...don't worry,  
everything will work out...

BROOKE  
...Wh-when Sam...S-sam...ran  
away... I-I said...but...

Jane shifts just slightly, as she pieces together Brooke's  
meandering words.

JANE  
(very, very softly)  
When Sam ran away, you said "no  
more lies." It IS something about  
Sam. Something you don't want to  
tell us. I was right.

Impulsively she pulls Brooke closer.

JANE (CONT'D)  
It doesn't matter, honey...whatever  
it is, it'll be all right...

Without warning, Brooke tears herself away from Jane, rolling  
off the bed so that she is standing before her stepmother,  
looking seriously crazed.

BROOKE  
Stop! Stop saying that! It's NOT  
going to be all right! You don't  
know!  
(shrieking)  
YOU DON'T KNOW!

With that one burst of energy, Brooke seems completely spent.  
Now she is just trembling and hugging herself, as though she  
were trying to keep herself from physically coming apart.  
Meanwhile, Jane regards her carefully, as if she were  
something very fragile (which seems to be a good idea).  
Finally, Jane reaches out tentatively.

JANE  
Brooke...whatever it is, it's okay.  
I swear.  
(slowly rising)  
Honey, I give you my word, nothing  
will happen if you tell me. You  
know I wouldn't lie to you, right?  
Brooke?

Instead of responding, Brooke seems to withdraw further within  
herself. Jane puts on a brave face, and tries a lighter tack.

JANE  
(trying to sound light)  
Come on, Brooke. How bad can it  
be, really? Sam's already moved  
out, cut us off. I mean, it's not  
like she's become a drug addict  
or—

But at the sound of those magic words Brooke's head snaps up  
like a shot, her eyes wide as saucers. An instant later Jane  
realizes what that means; she sits back down weakly, hand  
clamped over her open mouth. Overcome by the trauma of having  
let the truth slip out—however it happened—Brooke turns and  
flees the room, while Jane, paralyzed by shock, is powerless  
to stop her.

CUT TO:

INT. SAM'S APARTMENT - LATER

Sam, Jaycee and Reyanna are having a party, more or less; so  
far, only beer seems to be in evidence. Sam is sitting up on  
her bed, back against the wall. Reyanna is flopped across the  
bed's foot, head half hanging off the edge. Jaycee walks  
over, carrying a fresh beer.

JAYCEE  
So, you got a promotion?

SAM  
(frowning)  
Yeah. I guess. Maybe. I dunno.

JAYCEE  
Well, that clears it up.

SAM  
I just hope Art doesn't mind. This  
guy just kinda stole me.

REYANNA  
Hey, the only thing you oughta care  
about is, is it good for me, huh?  
I wouldn't mind getting stole. Not  
by a guy, though.

By chance, Jaycee has ended up standing near Reyanna's head.  
Reyanna reaches out, wraps a hand around Jaycee's bare leg,  
and pulls her a step closer, so that she is more-or-less  
looking up Jaycee's short skirt.

JAYCEE  
Behave, Rey.

Sam holds up a hand.

SAM  
Guys, please, don't feel weirded  
out around me. I hate that. Just  
act the way you normally would.

REYANNA  
(grinning)  
Hey, she's cool, huh?

Reyanna promptly slides her hand all the way up Jaycee's leg  
and under her skirt.

JAYCEE  
(rolling her eyes at Sam)  
You shouldn't have said that.

She slaps Reyanna's hand away.

JAYCEE (CONT'D)  
I mean it. Behave—or no sex  
tonight.

Reyanna pouts, while Sam makes an expression of mock sympathy.

SAM  
Sorry.

REYANNA  
It's cool. Jay's worth it.  
(pause)  
But...I COULD be in someone else's  
bed tonight, huh?

JAYCEE/SAM  
(simultaneously)  
Huh?

In response, Reyanna half-turns and looks up at Sam lazily.

REYANNA  
What d'ya say, Sam? I could show  
you some things, huh?

Jaycee and Sam are both wide-eyed at this point.

SAM  
(throwing her hands up)  
Uh, uh, thanks, really, but—

Before Sam or Jaycee can do anything, Reyanna runs her hand  
idly up Sam's leg.

REYANNA  
Sure? Be fun with a virgin.

SAM  
Um...I'm...

Somewhat recovered, Jaycee sits on the bed next to Sam,  
watching Reyanna's hand with a kind of detached interest.

JAYCEE  
(sotto voce)  
She means with girls.

SAM  
Yeah, I just figured that out.

Sam seems just tipsy enough not to take Reyanna's advances too  
seriously. Still, as Reyanna's hand makes its way up to her  
calf, Sam shivers involuntarily.

At that, Jaycee rouses herself out of her reverie, slapping  
her thigh, rolling off the bed and pulling Reyanna up after  
her.

JAYCEE  
Okay, that's enough out of you.

Reyanna starts to protest, but a knock at the door cuts her  
off. Stretching, Sam climbs off the bed and pads to the door.  
She looks shocked to find George standing there.

GEORGE  
Sam—we need to talk.

Between George's bluntness and the alcohol in Sam's system,  
the air between them quickly drops to sub-arctic temperatures.

SAM  
Why?

GEORGE  
Can we talk, please? Inside.

SAM  
(glacially)  
No.

Behind her, Jaycee comes up to the door, with Reyanna hanging  
on her shoulders.

GEORGE  
(eyes narrowing)  
Oh—having a party?

REYANNA  
Yeah. So? What's it to you, huh?  
Whoever you are.

SAM  
(quietly)  
George.

Recognition lights upon Jaycee's face.

JAYCEE  
Ohhh...I know about you. You're  
Dumping Boyfriend Number One.

GEORGE  
(unfazed)  
And you are?

Sam steps into his line of sight before Jaycee can answer.

SAM  
What do you think's going on here?  
You don't get to chat up my  
friends, George. You're not a part  
of my life anymore. Don't you get  
that?

GEORGE  
Sam, if you're in trouble—

SAM  
I'm not. Do I look like I'm in  
trouble?

GEORGE  
You look drunk. Or worse. And  
since you're underage, I'd say,  
yeah, I think you're in trouble.

SAM  
(dripping scorn)  
Oh, and you've never been drunk.

GEORGE  
Yeah, I've been drunk. You know  
that. But I've never been high.

Sam glares at him with such unrelenting hostility that it's a  
wonder he doesn't wither on the spot.

SAM  
Look, I don't know what people have  
been telling you, but-

GEORGE  
(doggedly)  
I just want to say, if you ARE in  
trouble, you can—

SAM  
(cutting him off)  
What? Come to you? Talk to you?  
(snorting)  
Tried that. You blew me off.

GEORGE  
(exasperated)  
Sam, that's not how it—

SAM  
George-just go away.

Sam ends the conversation by shutting the door in George's  
face.

CUT TO:

EXT. A BEACH - LATE NIGHT

A dark and completely deserted stretch of beach—deserted  
except for one blonde form lying asleep on the sand.

Brooke awakens fitfully, child-like, sitting up, rubbing her  
eyes, brushing sand off her clothes. She looks around, a bit  
disoriented, for several long moments before her attention is  
drawn by faint lights and sounds further down the shoreline.  
Finally, she pulls herself up and starts to walk in that  
direction.

CUT TO:

INT. MCQUEEN KITCHEN - LATER

Jane is huddled over the sink, where she's been crying her  
eyes out for some time. Mike comes up from behind and slips  
his arms around her, offering quiet support.

JANE  
(shaky)  
I don't understand... How did this  
happen? What...what did I do...?

MIKE  
We. What did WE do?

She turns in his arms.

JANE  
She's my—

MIKE  
(overriding her)  
She OUR daughter. I agreed to take  
on the responsibilities of a parent  
to Sam. I'm not shirking those  
responsibilities now.

JANE  
I used to hear other parents worry  
about their kids, and I always  
thought, thank God for Sam, she's  
so level-headed, and...

Mike chradles her as she trails off. Eventually she looks  
back up at him.

JANE (CONT'D)  
Did you find Brooke?

Mike shakes his head.

JANE (CONT'D)  
Oh, Mike, I'm so sorry. I  
should've...

He puts a finger to her lips.

MIKE  
Brooke's a big girl. She keeps  
reminding me of that. So do you.  
She can take care of herself.

JANE  
Like Sam?

Mike gathers her close again.

MIKE  
We'll get through this. I promise.

CUT TO:

EXT. A BEACH - NEAR MIDNIGHT

This stretch of beach is populated by people gathering to  
watch a fireworks show, though by no means is it really  
crowded. Among the occasional knots of people, Harrison walks  
alone. His bearing seems more distracted than depressed—at  
least until he is spotted by a couple strolling in the  
opposite direction, hand-in-hand: Sugar Daddy and Carmen.

SUGAR  
Yo, Harrison! What's shakin', man?

Sugar Daddy pumps Harrison's hand vigorously, forcing him at  
least partially out of his doldrums.

HARRISON  
Hey! Look at...you guys!

CARMEN  
(hanging on Sugar Daddy's  
arm)  
We're making New Year's  
resolutions.

SUGAR  
Yeah, like we resolve not to let  
stupid stuff keep us from having  
fun together.

HARRISON  
(grinning)  
Well, good for you!

CARMEN  
So, where's Brooke?

Harrison's grin falters.

CARMEN (CONT'D)  
(dismayed)  
What happened?

He looks her square in the eye.

HARRISON  
I know.

Now it's Carmen's turn to falter.

CARMEN  
I—I—I don't—

HARRISON  
I know, Carmen. I know about Sam.

Carmen's face falls farther than Harrison's had been. Then  
Sugar Daddy steps in.

SUGAR  
Hey, man, don't lay this on her.  
It was Brooke's call to keep you  
out of the loop.

HARRISON  
(heated)  
YOU knew, too?

SUGAR  
Like I said, it was Brooke's call.

HARRISON  
(subsiding)  
Yeah... I'm not pissed at you,  
Sugar. I'm just...pissed.

SUGAR  
(sympathetically)  
Word, man. This whole scene is  
whack, end line to end line.

CARMEN  
Hey...we're gonna find a good spot  
to watch the fireworks.  
(gestures with her head)  
You wanna come with?

HARRISON  
Naw.

SUGAR  
Hey, it's cool, man. Serious. I  
feel real bad about Sam. She's  
good people.

HARRISON  
Thanks, but... I think I need to  
be alone for a while.

CARMEN  
Okay.

Sugar Daddy and Carmen head off towards an area of dunes where  
people are gathering; Harrison wanders vaguely in the opposite  
direction, into a more empty stretch of beach. After a long  
silence, a voice comes from behind him:

NATALIE  
You're sure you want to be alone?

Harrison turns, ready to chase her off; but even in the  
darkness the sorrow on her face is sharp enough to still his  
words. Instead he goes and half-sits, half-perches on a low  
stone wall. A moment later, she adopts the same posture by  
his side—just a couple of buds, sitting on a wall.

HARRISON  
I know.

NATALIE  
I heard.

HARRISON  
Brooke told you?

NATALIE  
(shakes her head)  
I heard you tell Carmen.

A long silence passes between them.

NATALIE (CONT'D)  
Don't blame Brooke. If you were my  
boyfriend, I'd have done the same  
thing.

HARRISON  
(annoyed)  
Boy, you all really don't trust me.

NATALIE  
(quiet)  
It's not about trust.

HARRISON  
Then what is it?

NATALIE  
Brooke knew—I knew—that if you  
found out what Sam was doing, you'd  
rush right off to save her, no  
matter what.

Harrison shakes his head, clearly not getting it.

NATALIE (CONT'D)  
(whispering)  
Some of us care about you too much  
to watch you do that.

Struck by the force behind Natalie's words, Harrison stares at  
her, astonished. Their eyes lock, and they more seem  
overwhelmed by the moment. She leans towards him, tilting her  
head, and they are about to kiss when Harrison's gaze strays  
past her, and he sees:

HARRISON  
Brooke.

Natalie whips around, wide-eyed, to see for herself Brooke  
staring at them from perhaps a dozen paces away, an expression  
on her slack-jawed face that can only hint at absolute  
betrayal.

For a long moment, everything is frozen. Then Brooke breaks  
the spell, turning and running back the way she came.

HARRISON (CONT'D)  
BROOKE!

He tries to get up and run after her—but Natalie pushes him  
forcefully. He has to grab at the wall to regain his balance;  
she takes advantage of the momentary delay to take off after  
Brooke herself.

CUT TO:

EXT. A BEACH - MOMENTS LATER

Brooke is racing across an empty stretch of beach, with  
Natalie on her heels.

NATALIE  
(calling, breathless)  
Brooke! Brooke, wait! Please!

Suddenly, Brooke pulls up short. Natalie stops a respectful  
distance behind. But Brooke doesn't turn around.

NATALIE (CONT'D)  
(tentatively)  
Brooke? I know what— I mean, I  
know that looked—but— I just, just  
want you to know— Brooke?

Her back turned, Brooke is heaving, but Natalie can't tell if  
she's huffing or sobbing. Then Brooke faces her, and Natalie  
is shocked to see her LAUGHING.

BROOKE  
(halting)  
God...I am such a moron...I was...  
SO obsessed with Sam...I never...  
saw YOU coming. How funny is that?

NATALIE  
(stricken)  
No...Brooke... It—it wasn't— I'm  
not—

BROOKE  
(cutting her off coldly)  
You want Harrison.

NATALIE  
(shaking her head  
frantically)  
I—I never... I wouldn't...

BROOKE  
You're going to deny it? To my  
face? Nic wouldn't have.

Feet set, fists balled at her sides, Natalie summons every  
last ounce of conviction she can muster:

NATALIE  
I'M...NOT...NICOLE.

Tears brimming in her eyes, lips compressed tight, Brooke nods  
curtly; but ther is such a mix of rage and anguish on her face  
that it's impossible to tell what the nod is supposed to  
convey.

BROOKE  
(choking out the words)  
Keep trying. You'll get there.

Brooke turns and walks away, leaving Natalie to stand there,  
shaking and holding herself, tears streaming down her cheeks.

FADE TO BLACK.

END OF ACT FOUR

**THE END**


End file.
